Hedda’s Mid-Century Look: Aristocratic Sets & Design

The cinematic world of Nia DaCosta’s “Hedda” meticulously transports audiences to mid-century England, but with a distinctive twist. This reimagining of Henrik Ibsen’s classic play sees artisans behind the scenes delving deep into period aesthetics, not merely to replicate, but to imbue every visual element with a sense of character and psychological depth. From aristocratic sets that feel both grand and eccentric, to costumes and makeup that subtly underscore the titular character’s manipulative nature, the creative teams have crafted a truly unique vision. Indeed, as one artisan remarked, Hedda Gabler herself “manipulates everything,” a sentiment echoed profoundly in the film’s intricate design.

Crafting “Classic Modernity”: Hair and Makeup

Hair and makeup artist Sharon A. Martin coined the phrase “classic modernity” to define the film’s unique aesthetic. While firmly rooted in the mid-century period, the approach allowed for a blend of historical accuracy with contemporary influences, providing a fertile ground for creative exploration. This allowed Martin to differentiate between the film’s social groups; George’s friends sported more classic looks, while Hedda’s friends leaned towards a more forward-thinking style, providing a “good playground” for varied shapes and appearances.

Hedda Gabler’s personal aesthetic, however, was designed to convey her inner turmoil and control. Martin emphasized that Hedda’s look was a “mask” — her hair meticulously pulled together, “very tight, it’s very straight,” reflecting her need to maintain perfection and hold onto so much. This precision extended to her lipstick, which was always flawless, a testament to her unwavering composure. Martin collaborated closely with costume designer Lindsay Pugh to ensure the colors complemented each other, finding the perfect shade of red lipstick that harmonized with Hedda’s iconic green dress, maintaining her “warmth” while preserving the “mask”.

Designing the World of Hedda: Production and Set Design

Production designer Cara Brower worked in close collaboration with director Nia DaCosta to construct the eccentric and romantic landscape that serves as Hedda Gabler’s world. DaCosta had a very specific vision for the environment, the blocking, and how the rooms interacted. Key elements, such as a ballroom with a balcony and a grand staircase, were central to her imagination. Brower and DaCosta sought a location that possessed an “otherworldliness” and romantic qualities, something both eccentric and previously unseen.

Flintham Hall proved to be the ideal choice, fulfilling nearly all of DaCosta’s specific requirements. One of the film’s standout moments, a crashing chandelier sequence, was originally conceived for the ballroom or entry hall. However, due to logistical constraints at Flintham Hall, Brower and DaCosta ingeniously relocated the scene to the glass conservatory. This audacious decision not only suited Hedda’s wild character but also provided a compelling reason to utilize that particular space. Executing this complex scene required an engineer to ensure the chandelier would “completely cascade down and doesn’t just fall,” with Brower’s team even laying a full floor to protect the historic venue. Cinematographer Sean Bobbitt employed two cameras to capture the dramatic event from multiple angles, resulting in a “beautifully” smashed chandelier.

Costume as Character: Subtlety and Manipulation

Costume designer Lindsay Pugh approached the characters’ attire as a narrative tool, particularly for Hedda Gabler (Tessa Thompson) and Eileen Lovborg (Nina Hoss), a gender-switched version of Hedda’s ex-lover. Pugh aimed for vastly different styles for these two key characters, reflecting their emotional journeys. Eileen’s costumes were subtly designed to allow her to exist in a male-dominated world without drawing overt attention, creating a “feminine way” to “replicate a man’s suit and shirt”.

For Hedda, the costumes were pivotal in illustrating her manipulative nature. Pugh stated, “She maneuvers everything. She manipulates everything, and I wanted the dress to be camouflaged”. The search for the perfect green dress for Hedda was meticulous. Pugh wanted a shade that would allow Hedda to blend into a room, enabling her to “walk around the room and do whatever she wants to do with people”. The dress featured a green base, topped with silk tulle and a laced overlay, requiring a delicate balance to avoid a color that would “drain her”. This strategic costuming, combined with the precise hair and makeup, reinforced the idea of Hedda’s perfect, unyielding “mask,” through which she orchestrates her world.

Conclusion

The artisans behind “Hedda” have demonstrated a profound understanding of how visual storytelling can amplify thematic depth. Through Sharon A. Martin’s “classic modernity,” Cara Brower’s meticulously crafted, eccentric sets, and Lindsay Pugh’s character-driven costumes, the film creates a mid-century English world that is both authentic and uniquely stylized. Their collective efforts have not only visually grounded Nia DaCosta’s interpretation but also brilliantly underscored the central theme of Hedda Gabler’s relentless manipulation, making every detail a part of her carefully constructed reality.